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I’m deeply honored to be here. The first thing I would like to do is to commend the professional staff of the Biennale and all the work that they have done to make this happen. Theirs is truly a very lively institution and theirs is a very difficult job. It has been done exceedingly well.

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During the last 25 years Carmen Giménez has built a reputation as the most important curator of modernist sculpture in the world. During her most recent Guggenheim exhibition, Spanish Painting from El Greco to Picasso: Time, Truth, and History, Carmen spoke about her remarkable life and career.

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If the international survey exhibition of the 2005 Venice Biennale (Always a Little Further, curated by Rosa Martinez) professed enthusiasm and exhaustion over the state of contemporary art, the 2007 edition under the directorship of Robert Storr seeks its reclamation and renewal.

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This is the fifty-second edition of the Biennale di Venezia since its inception over a century ago. Clearly, the institutional notion of art—that is, art under the aegis of the nation-state—has given way to corporate sponsorship.

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After her mini-survey I am the Beautiful Stranger, Paintings of the 60s, which was sensitively curated by Arne Glimcher at PaceWildenstein (March 16April 21), Rosalyn Drexler paid a visit to the Rails Headquarters to talk with Art Editor John Yau about her life and work.

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On the occasion of his recent exhibition, William Anastasi: Raw at the Drawing Room of The Drawing Center, which will be on view till July 21st, the artist paid a visit to the Rails Headquarters to talk about his life and work.

Art in Conversation is supported by the Helen Frankenthaler Foundation.